FOR ADVANCEMENT OF
CONTEMPORARY ART, ON THIS

EDITION OF ARTS.
THE WORK OF AN ARTIST WHOSE

SUBJECTS AND MATERIALS
COMMUNICATE WITH LIGHT ABOUT

SENSUALITY AND HUMAN IF A
GILLITY FRAGILITY.

>> YOU CAME UP WITH THIS
IDEA OF STRINGING CRYSTALS,

ONE CRYSTAL FOR EACH ONE DAY
THAT SHE LIVED.

>> A FASHION ICON CONTINUES
TO EVOLVE HER STYLE AFTER

DECADES IN THE BUSINESS.
>> MY RESPONSIBILITY IS

REALLY TO BUILD AND TO
PROMOTE AMERICAN FASHION.

ARTIST WHO CREATES MINUTE
ACTUAL WORLD WITH CUT AND

FOLD DRAWINGS.
>> I THINK THEY'RE BEAUTIFUL

BUT I DON'T THINK THEY
SHOULD NECESSARILY BE

CONSIDERED BEAUTIFULS AND A
POET'S MESSAGE TO A MOVIE

STAR.
>> THANK YOU.

BRUCE LEE FOR DEVASTATING MY
CHILDHOOD LIKE A SINNEDDER

BLOCK.
>> IT'S CINDER BLOCK.

IT'S ALL AHEAD ON THIS
EDITION OF ARTS.

>>.
>> ARTS IS MADE POSSIBLE BY

THE KELSO FOUNDATION.
AND BY VIEWERS LIKE YOU.

ARTS IS IS PRESENTED BY THE
T OBIN CENTER FOR THE

PERFORMING NARTS OPENING IN
2014 PROVIDING THE BEST

PLACE ANYWHERE TO SEE AND
HEAR A LIVE PERFORMANCE.

SAN ANTONIO'S FUTURE OF THE
PERFORMING ARTS, THE T OBIN

CENTER.
>> THE VIBRANT ARTS

COMMUNITY OF OUR CITY
EXTENDS OUR CULTURES TO ART

CENTERS AROUND THE COUNTRY
AND THE WORLD.

ONE IMPORTANT INCUBATOR FOR
ARTISTIC INNOVATION IS ARTS

PACE SAN ANTONIO A
INTERNATIONAL LABORATORY

FOR THE CREATION AND
ADVANCEMENT OF CONTEMPORARY

ART.
INNOVATION AND EXPLORATION

ARE THE KEY TO THE WORK OF
JESSE AMADO.

AMADO IS A CONCEPTUAL ARTIST
WHOSE WORKS ARE COLLECTED BY

MUSEUMS IN TEXAS ACROSS THE
COUNTRY AND ABROAD.

ART PACE BECAME THE
LABORATORY FOR HIS

INNOVATIVE WORK DURING 1995
RESIDENCY, THE YEAR ART PACE

BEGAN HOSTING ARTISTS TO
FOSTER THEIR CREATIVE

EXPRESSION OF THE WE VISIT
TODAY THE WORK OF SUN OF SAN

ANTONIO, AMADO THOUGHT
PROVOKING IDEAS AND

MATERIALS.
>> I'M THRILLED TO HAVE THIS

PIECE BY JESSE AMADO ABOVE
MY FIREPLACE.

IT'S SO BEAUTIFUL, AND SINCE
I'M A WRITER, OF COURSE, I

LOVE THE FACT THAT JESSE IS
FASCINATED BY WORDS AS MOST

WRITERS ARE.
IN THIS PIECE, A PIECE THAT

IS SPELLED OUT THE LINES
FROM AN OLD JAMES BROWN SONG

THAT I USED TO LOVE.
AND YOU'LL REMEMBER THIS

LINE BECAUSE IT'S --
EVERYBODY KNOWS IT.

BUT IT SAYS, THAT YOU HAVE
TO REALLY LOOK, PLEASE,

PLEASE, BABY, DON'T GO, I
LOVE YOU SO.

AND I GAVE THIS TO MY
HUSBAND ON A BIG BIRTHDAY.

AND I THINK THIS IS PURE
JESSE.

WHAT IT DOES, IT FORCES TO
US REALLY LOOK AND SEE EACH

LETTER.
IT'S KIND OF A VISUAL RIDDLE

.
BECAUSE AT FIRST YOU JUST

LOOK UP, PEOPLE COME IN HERE
AND THEY HAVE NO IDEA WHAT

THAT IS.
AND THEN THE MORE THEY LOOK,

THEY PIECE IT OUT, SO I
DON'T TELL THEM WHAT IT SAYS

. AND THEY HAVE TO LOOK
AT EACH LETTER AND IT FORCES

US TO THINK ABOUT PERCEPTION
AND HOW MUCH WE MISS IN LIFE

.
AND THEN AT THE END YOU GET

THIS GREAT BIG PAYOUT, PAY
BACK -- PAYOFF.

YOU GET THIS GREAT PAYOFF
BECAUSE IT'S SUCH A LINE.

PLEASE, BABY, PLEASE DON'T
GO, I LOVE YOU SO. IT'S

ROMANTIC, IT'S FUNNY AND IT
IS OF COURSE BEAUTIFUL.

>>.
>> WHAT ARTISTS DO IS TEACH

US HOW TO BE HUMAN.
AND SO WHEN YOU'RE

CONFRONTED WITH A PIECE OF
ART WORK, WHERE HE STICKS

OUT THE LETTERS TOGETHER, OR
HE CREATES THESE PIECES WITH

MIRRORS AND OBJECTS THAT
SHOW THE BROKENNESS IN US.

THEN HE IS TOUCHING INTO THE
FRAGILITY OF WHAT IT MEANS

TO BE HUMAN.
AND THE OTHER THING, HE

RELENTLESSLY TRUTHFUL.
HE'S -- HE HAS AN IN

CORRUPTIBLE RELATIONSHIP
WITH THE TRUTH ABOUT HIMSELF

AND OTHERS.
AND THAT COMES THROUGH IN

THE PURITY OF HIS ART.
IT'S VERY -- IT'S VERY -- I

THINK OF IT AS ALMOST
TRANSCENDENTAL, IT

TRANSCENDS BOUNDARIES.
SO MAINLY, I THINK HE'S JUST

TRYING TO SHOW US WHAT IT
MEANS TO BE A HUMAN BEING.

AND THAT SOMETIMES WE DON'T
LIVE UP TO OUR OWN

EXPECTATIONS, SOMETIMES WE
DO.

AND ALL THE SEA OF EMOTIONS
AND SO WE ARE FRAY GUILE.

FRAG I WILL.
FRAGI LE.

>> THE FIRST TIME I EVER MET
JESSE AMADO WAS IN 1995 WHEN

HE WAS ONE -- IN THE FIRST
CLASS OF ART PACE ARTISTS IN

RESIDENCE, AND IN THAT
PROGRAM WE HAVE, ART PACE

HAS, A NATIONAL ARTIST AND
INTERNATIONAL ARTIST AND A

TEXAS ARTIST.
AND JESSE WAS THE TEXAS

ARTIST.
AND HIS ENTIRE WORK HAD TO

DO WITH KIND OF REBIRTHING
HIMSELF.

AND SO HE USED IN THIS WORK
THINGS LIKE SOAP, IMAGES

LIKE SOAP, WHICH ONE WOULD
THINK OF AS CLEANSING.

HE USED MIRRORS.
HE'S VERY REFLECTIVE.

SO MIRRORS OFTEN APPEAR IN
HIS WORK.

SELF-REFLECTION.
AND HE USED ITEMS FROM THE

ROMAN CATHOLIC CHURCH SACK
MEANT AS A WAY OF OR THE OF

REFLECTING ON WHERE HE HAD
BEEN IN HIS LIFE AND WHERE

HE WAS GOING TO GO.
SO THE WORK ITSELF WAS A

MEANING MAKING PROCESS.
OF WHERE JESSE WAS, WHEN HE

HE -- BEFORE HE TOOK THE
ARTIST IN RESIDENCY AND THEN

AFTER.
AND THE TRUTH IS HE WAS IN

FACT REBORN, BECAUSE HE WENT
FROM BEING A TEXAS ARTIST TO

AN INTERNATIONAL ARTIST, AS
A RESULT OF THAT EXHIBITION.

>> MY SENSIBILITY SOMETIMES
CAN BE REFERRED TO AS A

SENSIBILITY THAT COMES FROM
MY HERITAGE.

PERHAPS.
YOU KNOW, FROM MY LOO LATINO

LATINO -- FROM MY LATINO
HERITAGE, MEXICAN HERITAGE.

MEXICANS ARE VERY GOOD AT
THAT, MAKING SENSUALITY.

SO YOU KNOW, REAL.
AND I THINK THAT'S PART OF

WHAT I DO.
AND IF I CAN MAKE THE WORK

SEND SEXUAL, -- SENSUAL, I
WILL STRIVE FOR THAT.

>> LINDA PACE FOUNDED ART
PACE AND JESSE WAS THE FIRST

SAN ANTONIO ARTIST TO BE AS
RESIDENT AT ART PACE.

SO JESSE AMADO HAD AN
RELATIONSHIP WITH LINDA PACE

.
AFTER LINDA DIED, THE LINDA

PACE FOUNDATION WANTED TO
COMMISSION A WORK OF PUBLIC

ART THAT WOULD CELEBRATE HER
LIFE.

AND WE INSTANTLY THOUGHT OF
JESSE TO BE THE PERSON TO DO

IT BECAUSE HE KNEW HER SO
WELL.

AND SO WHAT HE CREATED AS HE
KNEW HE WANTED TO DO

SOMETHING WITH LIGHT, AND
CRYSTALS, AND SOMETHING THAT

WOULD BE BEAUTIFUL, BECAUSE
LINDA LED A BEAUTIFUL -- WAS

A BEAUTIFUL PERSON, AND LED
AN EXTRAORDINARY LIFE.

SO HE STARTED PLAYING AROUND
WITH IDEAS AND HE CAME UP

WITH THIS IDEA OF STRINGING
CRYSTALS.

ONE CRYSTAL FOR EACH ONE DAY
THAT SHE LIVED.

WHICH WAS 22,722 DAYS.
AND SO HE BEGAN STRINGING

THESE CRYSTALS AND IT WAS
ASTONISHING TO WATCH BECAUSE

YOU KNOW, HE WAS SET ONE ALL
THESE CRYSTALS, AND MANY

DIFFERENT COLORS.
AND THEN WHEN HE INSTALLED

THE PIECE, WE DECIDED IT
SHOULD GO IN THE SAN ANTONIO

LIBRARY, DOWNTOWN AND WHEN
HE INSTALLED THE PIECE, IT

WAS -- IT'S THIS SHIMMERING
SCRUP TOUR THAT MAKES A

BEAUTIFUL SOUND.
SO IT, FOR ME, I DON'T THINK

THAT JESSE WOULD SAY THIS.
FOR ME, IT'S PERFECTLY IS A

METAPHOR FOR LINDA'S SPIRIT.
THE SOUND OF THOSE CRYSTALS,

ALWAYS TIRCHGLING AND THE
LIGHT FROM -- THE LIGHT FROM

THE WINDOW OUT COME IN AND
HITTING ALL THOSE COLORS.

IT IS JUST SUCH AN EMOTIONAL
PIECE TO SEE.

AND IT STOPS YOU IN YOUR
TRACKS.

>> I LIKE TO TALK ABOUT THE
FRAGILITY OF LIFE.

THAT'S ONE OF MY SUBJECT
MATTERS.

AS WELL AS THE TRANSITIONAL
ASPECT OF LIFE AS WELL.

>>S ARE, I THINK THE PIECE
IS A LESSON, BECAUSE WE ONLY

HAVE SO MANY DAYS.
AND YOU KNOW, HOW DO YOU

MAKE EACH ONE COUNT?
AND THERE'S NO ONE WHO CAN

SEIZE THAT SCULPTURE -- SEES
THAT PIECE OF WORK THAT

DOESN'T KNOW THAT. THAT
EACH ONE OF THOSE DAYS --

BECAUSE THE TRUTH IS IT
DIDN'T LOOK LIKE THAT MANY

DAYS.
IT DIDN'T LOOK LIKE THAT

MANY DAYS.
YOU KNOW, WE HAVE THIS IDEA

THAT WE LIVE FOREVER, AND
INFINITE AMOUNT OF TIME TO

WASTE, ET CETERA.
AND THERE'S A LOT OF OTHER

THINGS ABOUT THAT PIECE, HOW
IT TAPERS OFF AT THE END

SUSPECT UNTIL THE VERY LAST
CRYSTAL IS THE VERY LAST DAY

OF HER LIFE.
IT GETS -- IT GETS CROWDED

IN THE MIDDLE, WHEN -- YOU
KNOW, WHEN SHE WOULD HAVE

BEEN AT MIDLIFE.
AND THEN AT THE END IT GETS

VERY THIN.
THE CRYSTALS GET VERY THIN.

SO MUCH THOUGHT WENT INTO
IT, AND SO MUCH COMMITMENT

TO HIS ART.
SO I THINK IT'S ONE OF MY

FAVORITE THINGS IN SAN
ANTONIO.

' IT SPEAKS SO WELL OF SAN
ANTONIO, AND OF THIS SON OF

SAN ANTONIO, TO BE ABLE TO
CREATE SOMETHING SO

EXTRAORDINARY AND SO
BEAUTIFUL.

>> AND NOW HERE'S A LOOK AT
A FEW ARTIST EVENTS

HAPPENING THIS WEEK IN SAN
ANTONIO.

>> TO SUBMIT YOUR EVENT TO
THE KLRN ARTS CALENDAR,

VISIT KLRN.ORG/ARTS.
UP NEXT, WE MEET FASHION

DESIGNER DIANE VON
FURSTENBERG WHOSE ICONIC

WRAP DRESS HAS STOOD THE
TEST OF TIME.

NOW VON FURSTENBERG IS
FOCUSING ON HER ROLE AS A

LEADER IN THE FASHION
INDUSTRY.

HER EFFORT TO PUSH FOR
WOMEN'S RIGHTS AND NEWEST

CLOTHING LINE CALLED
RENDEZVOUS.

>> IT'S A PLEASURE TO BE
INVITED INTO YOUR

HEADQUARTERS HERE.
>> THANK YOU FOR HAVING US.

>> WELCOME.
>> I WOULD LOVE TO TALK

ABOUT YOUR NEW COLLECTIONS,
THE FALL 2012 IS NOW OUT.

>> RIGHT.
>> DESCRIBE TO ME WHAT THE

PROCESS IS LIKE WHEN YOU'RE
LOOKING AT THE --

>> IT WAS CALLED RENDEZVOUS
BECAUSE WE WANTED SOMETHING

SEDUCTIVE.
SO NOTHING IS MORE SEDUCTIVE

THAN THE RENDEZVOUS.
IT'S -- ITS EXPECTATION,

WHETHER IT'S A BUSINESS REND
RENDEZVOUS, IT IS A

MYSTERIOUS, SEDUCTIVE,
ALWAYS READY FOR THE UN

EXPECTED.
SO THE COLLECTION IS VERY

FLUID I CAN AND IT IS CLOSE
TO THE BODY.

THE DRESS THAT OPEN THE
COLLECTION IS CALLED BENTLEY

AND IT'S NEW FORM OF WRAP.
COLORS ARE STRONG.

IT'S SEDUCTIVE.
>>.

>> TAKE US BACK TO YOUR
EARLY DAYS OF LIFE IN THE

UNITED STATES.
NOBODY KNEW WHO YOU WERE BUT

YOU WERE A JET JETTER --
JET-SETTER WHO HAD JUST

MARRIED A PRINCE.
>> I WAS 22.

I CAME TO AMERICA, I HAD
JUST MARRIED MY SWEETHEART

FROM COLLEGE, WHO WAS A
PRINCE.

AND A HEIR OF THE FAMILY AND
I WAS PREGNANT.

AND I WAS VERY HAPPY AND
VERY MUCH IN LOVE.

BUT I WANTED VERY MUCH TO BE
INDEPENDENT.

AND I HAD BEEN WORKING FOR
AN ITALIAN INDUSTRIALIST IN

THE FASHION BUSINESS, A MAN
WHO HAD AN PRINTING FACTORY,

WHERE HE PRINTED SCARFS AND
MADE JERSEY, AND I SAID CAN

I MAKE A FEW SAMPLES AND TRY
TO SELL THEM IN AMERICA SO.

AT NIGHT WHEN THE FACTORY
WAS CLOSED, I WOULD STAY

WITH THE PATTERN MAKER AND
FIND WHATEVER FABRIC WAS

AROUND AND I MADE MY FIRST
SAMPLE.

>> AND I HAD THAT LITTLE
DRESS.

>> LET'S TALK ABOUT THE
LITTLE DRESS.

>> IT IS THE WRAP DRESS.
>> THE WRAP DRESS.

>> BUT WHICH IS BASICALLY
HAS ENDURED FOR THREE

DECADES.
>> 38 YEARS.

LIKE A DRESS THAT DOESN'T
HAVE A ZIPPER, BUT, BUTTON

THAT WRAPS AROUND LIKE A
KIMONO.

WHAT'S DIFFERENT ABOUT IT,
IT WAS MADE IN JERSEY.

THEREFORE, YOU MOLDED THE
BODY.

>> YOU CAN WASH IT.
>> YOU CAN WASH IT AND THERE

WAS A PRINT AND THEN THE
MOVEMENT OF THE PRINT IS

LIKE AN ANIMAL.
THAT KIND OF GOES WITH THE

BODY.
>> AND ALL OF THAT TOGETHER

WAS JUST -- MADE IT THIS
INCREDIBLE THING. AND TO

THIS DAY, I SEE PEOPLE
WEARING IT AND I THINK, YOU

KNOW WHAT, IT'S -- IT WORKS,
THERE'S SOMETHING MAGICAL,

SOMETHING VERY PECIAL ABOUT
THAT DRESS.

AND AT THIS POINT I JUST
HAVE TO ACCEPT IT, BECAUSE

IT HAS STAYED.
>> I WAS THE FIRST PERSON

THAT MADE INEXPENSIVE DRESS
ES THAT ALL WOMEN WOULD

BUY.
I STARTED AS A WOMAN AND I

LOOKED FOR THE PRACTICAL
SIDE AND SOPHISTICATED AND

ALL OF THAT.
BUT THEN OF COURSE AFTER --

YOU KNOW, DECADES, I BECAME
A DESIGNER AND NOW I'M A

PROP.
>> YOU CERTAINLY ARE.

BASICALLY THREE VERY
DIFFERENT EVOLUTIONS OF YOUR

COMPANY UT A METEOR I CAN
RISE.

>> MY FIRST WAS AMERICAN
DREAM.

YOUNG GIRLS COMES TO AMERICA
, AND OVERNIGHT,

IMMEDIATE SUCCESS.
AGE 28.

AND SO ON. AND I SOLD IT.
AFTER 10 YEARS, 11 YEARS, I

SOLD THE WHOLE BUSINESS AND
I THOUGHT I WAS FINISHED

WITH IT AND MY CHILDREN WENT
TO BOARDING SCHOOL, I --

>> NEW LIFE.
>> AND THEN I HAD A NEW

LIFE.
AND THEN I CAME BACK AND MY

BRAND HAD COMPLETELY
DETERIORATED.

IT WAS ALL OVER THE PLACE,
THE PRODUCT, ALL PRICES AND

IT JUST LOST HITS DNA, LOST
EVERYTHING.

>> I STARTED MY SECOND
GENERATION BECAUSE I REALIZE

WHAT HAD MADE ME DO DO IT IS
I REALIZED THAT YOUNG HIP

GIRLS WERE BUYING THE OLD
DRESSES IN VINTAGE SHOPS.

>> WHAT DO YOU THINK THE KEY
WAS TO MAKING YOURSELF

RELEVANT AGAIN, AS YOU WERE
TRYING TO --

>> I DON'T KNOW, I STARTED
BACK WITH THE OLD DRESS

AGAIN, AND I -- THREW MYSELF
INTO IT AND IT WORKEDS AND

NOW, JUST ABOUT NOW, BETWEEN
THIS YEAR AND NEXT YEAR, I

THINK IT'S THE THIRD PERIOD
THAT IT'S STARTING.

SUCCESS WITH MY NEXT BIG
EFFORT, AND SO I'M WORKING

IN THE COMPANY AND CREATING
A REGULARS ' AND A PACKAGE

THAT WILL BE ABLE TO LAST
AFTER ME.

>> I KNOW THERE ARE OTHER
PASSIONS IN YOUR LIFE,

OUTSIDE OF YOUR BUSINESS.
LET'S TALK ABOUT YOUR WORK

WITH THE C FDA.
I KNOW YOU FEEL IT'S YOUR

RESPONSIBILITY TO HELP
NURTURE YOUR TALENT.

>> YES, I MEAN, MY
RESPONSIBILITY IS REALLY TO

BUILD AND PROMOTE AMERICAN
FASHION SO. WE DO IT FROM

THE SCHOOL ZONE, WE BREED
NEW TALENTS AT THE SCHOOLS,

THEN WHEN NEW DESIGNERS COME
IN, WE HELP THEM, WE HAVE

THE C FDA VOGUE FUND, WHERE
ANA WAS EXTRAORDINARY.

ALL THE YOUNG NEW DESIGNERS,
ALL COME OUT OF THAT FUND.

I MEAN, FROM ALEC, ALL CAME
OUT OF THAT.

AND THEN MY OTHER COMMITMENT
IS REALLY MY COMMITMENT TO

WOMEN.
I'M ON ADVISORY BOARDS.

IT'S AN ORGANIZATION THAT
EMPOWERS WOMEN.

THAT TRAINS WOMEN ALL OVER
THE WORLD.

WOMEN NEED IT.
AND SO THEY DO THINGS TO

ADVANCE HUMAN RIGHTS.
AND TO GET POLITICAL

ACCEPTANCE.
AND FOR ECONOMIC DEVELOPMENT

>> I WANT TO HELP OTHER
WOMEN BECAUSE I AM SO

IMPRESSED BY STRENGTHS OF
WOMEN.

THAT REALLY IS INSPIRING TO
ME.

BECAUSE I HAVE NEVER MEANT A
WOMAN WHO WAS NOT STRONG.

>> MAYBE BECAUSE MY MOTHER
WAS IN THE DEATH CAMPS WHEN

SHE WAS 20 AND FREEDOM WAS
SO IMPORTANT TO HER, SO SHE

ALWAYS TOLD ME SHE SURVIVED.
GOD MADE HER SURVIVE SO SHE

CAN GIVE ME LIFE AND
THEREFORE TOYED CARRY HER

FLAG -- THEREFORE I HAD TO
CARRY HER FLAG.

AND I REALIZED THAT
EVERYTHING I DO, ALL GOES TO

THE SAME THING.
THE MISSION IS THE SAME.

IS TO EMPOWER WOMEN.
>> ARE YOU THE WOMAN YOU

WANT TO BE TODAY?
>> YEAH.

>> AND IF YOU ASK ME WHAT I
WANT TO BE REMEMBERED FOR,

IS IF I CAN HAVE INSPIRED
WOMEN TO BE THE WOMEN THEY

WANT TO BE, THROUGH
EVERYTHING I, DO MY WORK,

MENTORING, PHILANTHROPY, I
MEAN TO ME THAT'S ALL VERY

COHERENT.
>> WE'RE DELIGHTED TO BE

ABLE TO TALK WITH YOU.
THANK YOU, DIANE.

EARLIER THIS YEAR, DIANE VON
FURSTENBERG, LAUNCHED HER

FIRST CHILDREN LINE.
A CHILD SIZED WRAP DRESS.

MUSEUMS ARE OFTEN LITTERED
WITH SIGNS REMINDSING

VISITORS, PLEASE DO NOT
TOUCH.

BUT ARTISTS GARY KACHADORIAN
TAKES A MORE HANDS ON

APPROACH TO HIS WORK.
HIS BOOKS ARE FULL OF

DRAWINGS OF ABSENCE FROM
EVERY DAY LIFE, FROM SOFAS

TO ATM MACHINES, THE OBJECTS
MAY BE COMMON, BUT

KACHADORIAN BELIEVES THEY
STILL CAN BE ART.

>> CHOOTION THE OBJECTS I
CHOOSE IS LARGELY BECAUSE

I'M INTERESTED IN THEM.
I THINK THEY'RE BEAUTIFUL

BUT I DON'T NECESSARILY
THINK THAT THEY SHOULD BE

CONSIDERED BEAUTIFUL.
IT'S JUST WHAT STICKS IN

YOUR BRAIN AND YOU KNOW, YOU
ASSUME WHAT'S STAYING IN

YOUR BRAIN IS SOMETHING THAT
TELLS SOMETHING ABOUT YOU,

PROBABLY.
AND THAT'S KIND OF THE POINT

OF MAKING ART.
>> I LOOK AT OTHER ARTISTS''

WORK, YOU KNOW, HALF OF IT
IS WHAT I COULD FIND OUT

ABOUT THE WAY THEY THINK.
THIS IS ONE OF THE LAST

PROJECTS I FINISHED WHICH IS
A BOOK OF COLORFUL OBJECTS,

ANYTHING FROM A SELF-
PORTRAIT, YOU KNOW, TO

A SPOT OF POTS, TO BARRIERS,
YOU KNOW, VACANT LOT.

SNOWBALL STAND.
THINGS YOU DRIVE BY EVERY

DAY THAT ARE FAIRLY CENTRAL
AND ELEMENTAL TO SOCIETY

THAT WE LIVE IN.
THIS PIECE IS A BRAND-NEW

SET OF LIKE CUT AND FOLD
SERIES.

AND IT'S AN APARTMENT
DUMPSTER, WHICH I'VE DONE A

FEW FLAT ONES OF BEFORE, BUT
THIS IS A THREE-DIMENSIONAL

ONE.
AND SOFA WITH THE REMOVABLE

CUSHIONS BECAUSE THERE'S
ALWAYS, WHEN YOU GO BY

APARTMENT COMPLEXES, YOU SEE
A SOFA NEXT TO THE DUMPSTER.

DID I THIS SELF-PORTRAIT A
FEW YEARS AGO, ACTUALLY THE

ONLY I GUESS ENAMEL I'VE
DONE A DRAWING OF, AND IN

PROBABLY 6 YEARS.
BUT THIS ONE I KIND OF

THOUGHT I HAD TO DO, AND IT
CAME FROM STANDING IN LINE

WITH THE 711 AND LOOKING AT
THE SECURITY CAMERA AND

NOTICEING A REALLY LARGE
BALD SPOT I HADN'T NOTICED

WAS. THIS A SURPRISE,
SEEMED LIKE A GOOD TIME TO

DOCUMENT THAT PARTICULAR
AGING PROCESS.

I DON'T LOOK AT ANY OF THESE
THINGS BEING MASS PRODUCED

AT THIS POINT.
THIS LOOKS -- THIS SOLD FOR

$4 AND I SELL IT DIFFERENT,
MOSTLY LIKE ARTIST BOOKS,

OUTLET, PLACES LIKE GSH --
AND LOCALLY.

I DO POSTERS AND -- THIS IS
ACTUALLY ANOTHER SCALE

VERSION OF THE VACANT LOT.
BEHIND IT, BOTH OF THESE

PANELS, ACTUALLY, ARE --
WERE CEILING PANELS I HAD UP

BEFORE, SO THEY'RE A DRAWING
OF DROP CEILING, ACOUSTIC

TILE.
AND THEN THE LAST, THIS KIND

OF SEQUENCE IS INSTALLATION
THAT I DID ON A BUILDING ON

NORTH AND CHARLES THAT USE
AS BUSH IN EARLY SPRING.

AND DETECTIVE BLOCK WALL.
FROM THE POINT OF VIEW OF

MAKING THE DRAWINGS, YOU
HAVE TO MAKE IT IN AN UN

COMPROMISING MANNER.
YOU KNOW, BUT AT THE SAME

TIME MAKE IT SO THAT PEOPLE
MIGHT FIND IT INTERESTING TO

LOOK AT.
A TOUGH THING, YOU'RE NOT

TRYING TO BEND TO PLEASE
THEM.

YOU'RE TRYING TO MAKE
SOMETHING THAT WILL PLEASE

THEM.
ON YOUR TERMS.

>> TO SEE MORE OF HIS WORK,
VISIT HIS WEBSITE AT GARY

KACHADORIAN.COM.
HERE'S WHAT HAPPENED IN OUR

HISTORY ART HISTORY.
MANY CHILDREN GROW UP IDOL

IZING THE PEOPLE THEY
SEE ON THE BIG SCREEN. POET

HE HAD BOK LEE REMEMBERS
LOOKING UP TO BRUCE LEE BUT

HIS IMPRESSION OF THE MOVIE
STAR CHANGED WHEN HE BEGAN

TO SEE THE ACTOR BEYOND THE
BLOW OF THE SILVER GLOW OF

THE SILL SILVER SILVER
SCREEN.

HERE IS ODE TO BRUCE LEE.
>>.

>> THANK YOU.
BRUCE LEE.

FOR DEVASTATING MY CHILDHOOD
LIKE A CRINDER BLOCK FOR ALL

ALL -- CINDER BLOCK FOR ALL
THIS.

OF COURSE YOU CHOKED ON THE
MASK THEY HANDED YOU AS THE

GREEN HORNET, LIKE SOME
RETRO DEMOTED ROLE FOR T ONT

O.
INSTEAD THEY CAST DAVID CARE

DEAN INSTEAD OF YOU.
THANK YOU FOR HIGH TAILING

IT BACK TO HONG KONG, JAW OF
REVENGE.

NOT EVEN KOREAN FOOTPRINT
COULD WALK ON YOU, BORN IN

SAN FRANCISCO.
BURIED IN SEATTLE.

RAISED A CHINESE NATIONALIST
, THANK YOU FOR

TEACHING CHUCK NORRIS HOW TO
STAR IN ABDOMINAL REHE DUCKS

COMMERCIALS FOR YOUR
CANTONESE OPERA STAR AND

ASIA AMERICAN MOTHER,
FLUMPGED OUT CATH CATHOLIC

STREET BRAWLER, THANK YOU
FOR BEING ACCEPTED BY BLACKS

BEFORE WHITES, FOR CLAWING
THE FACE OF THE WORK FOR

KNOWING WHO YOU WERE WHEN
EVERYONE ELSE WAS JUST TOO

DAMN LOW -- TOO DAMN SLOW.
ADULTERER TO YOUR AMERICAN

WIFE, RACE TRADE TORE TAIWAN
EASE LOVER, FLESH SCRUPTOR,

ENYING MARX FLAWED HEART OF
SANDAL WOOD.

THANK YOU FOR HIDING YOUR
QUARTER GERMAN ANCESTRY TO

FIGHT LATER TO TRAIN
CAUCASIAN BUT ONLY

CERTIFYING AS INSTRUCTORS
ASIAN.

ASSASSIN ATHOUSAND
STEREOTYPES SMASHED.

THANK YOU FOR NOT BEING
JACKIE CHAN.

INSTEAD, SEXY, HORT, AND
SHORT AND CUT AS A BEGIN SUE

KNIFE FOR NEVER TAKING YOUR
EYE OFF THE MAN US A BOW

ATTEMPTING TO HE HADFY
BEFORE YOU HAVE TO KILL HIM,

MONK, HEALTH FANATIC, POT
SMOKER.

SOMETIMES MY FATHER SMUK
SODA AND BEER TO GO WITH OUR

POPCORN.
PAST MIDNIGHT WE'D AMBLE

OUT, THE ONLY TWO EXTRAS TO
SURVIVE A FORGOTTEN WAR, AND

MONDAY'S PLAYGROUND.
THANK YOU FOR BROKEN ENGLISH

, AND A HUSTLER'S
FLOW SUNG WITH LIMBS AND A

SCREEN BEYOND ANY COLOR OR
GENDER BARRIER, CHARLATAN

WHENEVER THEY HAD THE REAL
YOU CORNERED, BOKING AND CHA

CHA CHAMPION, STYLE OF NO
STYLE, TEACHER, WAITER,

DRAGON, CHARRED IN A 1970S
BALLOON OBSESSED CROWD.

SNAPPING GESTURES, IRONIC,
ICONIC, LOUD, HANDSOME, EACH

TIME SOME DUMB KID ASKED ME
IF I WAS RELATED TO YOU.

BUT MOST OF ALL, BRUCE,
THANK YOU FOR ADVANCING ON

TO THAT FINAL ISLAND MIST IN
THE SKY AND TAKING AS MANY

OF US AS YOU COULD WITH YOU.
>> ED BOK LEE'S BOOK WORLD

IS ON THE POETRY
FOUNDATION'S 2012 BEST

SELLER'S LIST AND IS A
WINNER OF THIS YEAR'S

AMERICAN BOOK AWARDS.
AND THAT WRAPS IT UP FOR

THIS HE HAD HE ITION OF ARTS
ARTS -- THIS EDITION OF ARTS

.
FOR MORE, VISIT OUR WEBSITE

AT KLRN.ORG/ARTS.
WHERE YOU'LL FIND

INFORMATION ON UPCOMING ARTS
EVENTS IN AND AROUND SAN

ANTONIO.
JOIN US NEXT THURSDAY AT

8:30 P.M.
UNTIL THEN, I'M ASIA

CIARAVINO, THANK YOU FOR
WATCHING.

>> ARTS IS MADE POSSIBLE BY
THE KELSO FOUNDATION.

AND BY VIEWERS LIKE YOU.
ARTS IS PRESENTED BY THE T O

BIN CENTER FOR THE PERFORM
ING ARTS, OPENING IN

2014.
PROVIDING THE BEST PLACE

ANYWHERE TO SEE AND HEAR A
LIVE PERFORMANCE.

SAN ANTONIO'S FUTURE OF THE
PERFORMING ARTS, THE T OBIN

CENTER.